Four Daughters 1938 Directed by Michael Curtiz Warner Bros. B/W

For weeks, Julie was in a "holding pattern". He was set for one picture after another then held back while someone else got the part or the picture was shelved. Then a scriptwriter, Julius Epstein, told Garfield that a movie was in the works for Errol Flynn with a great secondary part that just might fit him. It was the kind of "sleeper" role that, done well, could literally steal the picture away from the lead actors. Now titled "Because of a Man", it was based on Fannie Hurst's story "Sister Act" about four sisters and their widowed father.

Errol didn't like it, director Curtiz didn't like it but Jack Warner liked it and that is what counted . Well, Errol sailed away on his yacht in protest and Jeffrey Lynn got the lead. Michael Curtiz stayed, muttering under his breath about a "starless film" and Julie got the role of Mickey Borden, the sardonic but tragic young composer. Julie took it from there creating a Mickey that was all his own, one even the author didn't recognize, and he stole the picture! New York Times critic B.R.Crisler wrote: "...He (Garfield) bites off his lines with a delivery so eloquent that we still aren't sure whether it is the dialogue or Mr. Garfield who is so bitterly brilliant. Our vote, though, is for Mr. Garfield and for whatever stars watch over his stage and screen career". Julie got a Best Supporting Actor nomination but lost to Walter Brennan.
So the movie Curtiz called a "starless film" made a star!...John Garfield!

They Made Me a Criminal 1939 Directed by Busby Berkeley Warner Bros. B/W

Some years earlier, a Warner Bros. "programmer" ( to the uninitiated..a "B" picture) titled "The Life of Jimmy Dolan" with Douglas Fairbanks, had done quite well at the box office. So it was brought back and cleaned up for Errol Flynn...but Errol was off doing swashbucklers. So someone in the studio office (probably Jack "do it fast-do it cheap" Warner) saw in it a story worthy of the "new Garfield image". The so-called image came through loud and clear. He was unique, original and had a body language to match but the role got more from him than the writers had given it.. Cash registers clanged all over town!

Julie was surrounded by a cast with old friends from his first movie (Claude Rains and May Robson) and some new friends from his hometown (The Dead End Kids). The "Kids" had travelled the same route from the streets of New York to Broadway to the screen and so, on the set, Julie was like a big brother to them. His leading lady was Gloria Dickson who matched his strong performance with one of her own. Ann Sheridan played a brief but integral role as the gal pal who set him up for a murder rap.

BTW...The heat was really on for Julie on location..the site was in the Palm Desert where temperatures reached 100 degrees!

Gloria Dickson's career ended only six years later in 1945 when she died in a tragic fire.

Dust Be My destiny 1939 Directed by Lewis Seiler Warner Bros. B/W

With this film, the stereotyping of John Garfield was beginning to pall on the critics but since audiences were still responding, the studio couldn't see the hole they were digging. Julie saw it and this was the last picture before his first suspension.

Julie portrayed a untrusting young guy, Joe Bell, who seemed to wear "Murphy's Law" like a mantle. "Anything that can go wrong, will go wrong" and when it did, Joe was right there waiting. He ran afoul of the law with two pals along (two of the "Kids", Bobby Jordan and Billy Halop ) and they all ended up on a work farm. And, of course, the farm overseer had a lovely daughter. Joe and Mabel ( pretty Priscilla Lane) got on very well, but there's a confrontation with Papa and one thing led to another. There's a fight and Papa dies of a siezure leaving Joe with a murder rap. Will Joe's problems ever cease? Nope. They just sprout little problems. The screenwriter wanted to dust off both of them but the studio objected so they found a nicer way to tie it up.
Henry Armetta gets kudos for his performanceas the diner owner who goes to extra lengths to help the two kiddies.

Julie thought the picture was "dramatically sloppy". he wanted to play characters of different types and even some comedy. But the studio watched the box office and heard not a discouraging word.

Castle on the Hudson 1940 Directed by Anatole Litvak Warner Bros. B/W

Julie came back from suspension for this picture because it was a remake of a Spencer Tracy hit "20,000 Years in Sing Sing" and he admired Spencer Tracy. Spencer would have probably told him to stay out and wait a little longer. The script he got never had the zing of the Tracy film. However, his performance as Tommy Gordon, the guy who goes to prison for his girl (lovely Ann Sheridan) was strong and definitive as usual. But again, the box office applauded what the critics derided and Julie continued to wait for a change of pace. The cast was well-rounded with Burgess Meredith as a fellow convict and Pat O'Brien as the warden.

Saturday's Children 1940 Directed by Vincent Sherman Warner Bros. B/W

Aha, a ray of light in the studio darkness. Jack Warner and Henry Blanke (an associate producer), trying to placate their restless star, invited Julie to select a story he liked for his next movie. Of course, such promises usually have some silent parameters.

Julie chose Maxwell Anderson's "Saturday's Children", a play that had been presented on Broadway in 1927 and had also been filmed twice before in 1929 and 1935, under the title"Maybe It's Love". (The studio said 'Yes") TheEpstein Brothers were asked to do the screenplay. (They said "Yes", too).Next Julie wanted Jane Bryan for his leading lady but she had married and retired. So he asked for Priscilla Lane because,after all , they had always been good together. (The studio said "No"!) So Julie opted for Ann Shirley and, may wonders never cease, old Jack arranged for a loanout from RKO where she was one of their major leading ladies. Not done yet, he asked for Vincent Sherman to direct and Claude Rains to play the father.(The studio said "Yes" and even threw in George Tobias).

Ads went up all over town announcing "A new and lovable John Garfield..." The performances were solid gold and the critics were ecstatic. The New York Tribune: "(Garfield) plays with the sensitive thoughtful authority that he know how to muster..". the New York Times: "(Garfield) falls into the part of the harassed young lover as though it had been written for him alone".But unfortunately the box office didn't reciprocate and Warner Bros. was determined to go back to the safe mode of gangster films. Julie, in turn, decided to exercise a clause in his contract and go back to the stage for a while!

The Sea Wolf 1941 Directed by Michael Curtiz Warner Bros. B/W

Warner Bros.wanted a lavish production of Jack London's "The Sea Wolf" (quite a turnabout for parsimonious Jack Warner). This was Julie's first film with another member of what would later be called the Warners "Mob" or "Murderers Row" (Cagney, Garfield, Robinson, Raft and Bogart) and Robinson's first film in the US. Julie wouldn't meet the others in a film except as cameos in "Thank Your Lucky Stars" and "Show Business at War". This was also the first picture with Ida Lupino and the first he would work on after another suspension. He only came in for this film because of his admiration for the cast.

Julie took the part of the rebellious seaman, Goerge Leach, with Robinson as the brutal captain, Wolf Larsen and Alexander Knox as the writer van Weyden. Robert Rossen had written sizzling love scenes for Julie and Ida and they played them with such electricity that the sparks "set fire" to the head office. Plans were immediately put in motion to pair them again. .

Dangerously They Live 1942 Directed by Robert Florey Warner Bros. B/W

Julie was just coming off suspension again. He was eager to do what he considered a different kind of role..a doctor on the trail of Nazi spies right here in the good old USA. The cast was top grade with Raymond Massey as the doctor who was also Nazi-In-Charge, and Nancy Coleman (hitherto a starlet with not much on her resume) as the gal faking amnesia to keep her secret out of the wrong hands. But the script had B-movie written all over it. Julie called it " an assignment, not a performance".

BTW...Nancy Coleman,who was medium tall in height, revealed that Julie had no vanity about his shorter stature of 5'7. When they had a love scene, he just stood on a little box!

Air Force 1943 Directed by Howard Hawks Warner Bros. B/W

Julie wanted to do more films that benefited or portrayed the war effort. This picture fit the bill with Howard Hawks' penchant for realistic action scenes. Julie gave up the lead role here...to the plane! While John Ridgley played the captain, Julie took the role of the bomber gunner who had to land the plane without benefit of flying know-how. When the pilot is mortally wounded, Sgt. Winsocki has to take over piloting the bomber and getting it down successfully. The film became one of the most popular war movies with both the public and the critics.

The cast also included Harry Carey, Gig Young, Arthur Kennedy and, yep, George Tobias! It was third on the National Board of Review poll and also on the New York Times Ten Best Films of 1943.

The Fallen Sparrow 1943 Directed by Richard Wallace RKO B/W

Since Julie had definite bias toward the Spanish Civil War , having actively backed the Loyalists in their unsuccessful battle, this role may have been salve to the wounds.Warner Bros. loaned him out to RKO to do Dorothy B. Hughes' story of the Loyalist survivor with post-traumatic stress syndrome who is followed home to NewYork by the Nazis. Julie had the benefit of Richard Wallace's fine direction but as the New York Times pointed out: "through these scenes Mr.Garfield remains almost constantly convincing and, without his sure and responsive performance in a difficult role, Mr.Wallace's effects would have been lost entirely".
Maureen O'Hara was Julie's leading lady in a role reminiscent of Mary Astor's role in "The Maltese Falcon" and she met the same end. Also in the cast was John Banner (remembered for Sgt. Schultz in "Hogan's Heroes")and Hugh Beaumont (forever Ward Cleaver of "Leave it to Beaver")

Destination Tokyo 1944 Directed by Delmer Daves Warner Bros. B/W

Julie took a supporting role in this submarine actioner with Cary Grant. Grant played Captain Cassidy in command of the submarine "Copperfin" on a mission into Tokyo Bay to deliver a "message"! Warner Bros. had just installed a huge water tank on the lot and managed to make good use of it. The script was well-written by Albert Maltz , with help from Delmer Daves, with the action taking place both inside and outside the submarine. With a live bomb lodged in the deck, mine fields all around, the sub constantly dodging depth bombs and someone on the ship getting appendicitis, no one had time to get bored including the audience. Also on board: Alan Hale, John Ridgely, and Dane Clark . Dane was formerly Bernard Zaneville of the Group Theatre and was now rumored to be the one Warner Bros was grooming as the next John Garfield. Despite that Julie and Dane was best of friends.

The movie was a top-grosser for 1944 and made the New York Times Ten Best List.

Pride of the Marines 1945 Directed by Delmer Daves Warner Bros. B/W

This film, based on the life story of Philadelphia's blind war hero, Al Schmid, was Julie's choice and he went after it doggedly. In 1943, he took the idea to Albert Maltz who had worked with him on "Destination Tokyo". He got the story and the part but the shooting was delayed so Julie packed up and went off on an extended oversea tour to entertain the troops fighting in Italy.
This was only the second time Julie had played the role of a real person (Porfirio Diaz in "Juarez" was the first) and the first time he had taken the part of a living person. So, for the sake of realism, he went to live with Al Scmid and his wife in Philadelphia. Al had been blinded in Guadalcanal and Julie marveled at his adjustment to an imageless world. Julie , using blindolds, tried to create that world for himself by imitating Al's cautious, but decisive, moves around his environment. The experience made the two close friends.

Old buddy Dane Clark did a great job as the old buddy, Lee Diamond and Eleanor Parker also did a fine job as Al's fiance.

It was the biggest hit Garfield would ever have at Warner Bros. and it was on the New York Times Ten Best List. Julie should have gotten an Oscar nod for this one but he was left out again. It was almost as though he was expected to excel.

BTW...The premiere of the film was held in Philadephia , Al's home tone and 1500 veterans from the Guadalcanal invasion showed up!

The Postman Always Rings Twice 1946 Directed by Tay Garnett MGM B/W

Julie was out on suspension again for the ninth time when the industry was shaken by the courts' decision on Olivia de Havilland's case against Warner Bros. Actors were longer obligated to their studios for time spent on suspension without pay. In other words, actors were now out from under the proverbial studio "thumb"! Warner Bros. quickly lifted Julie's suspension and loaned him to MGM as repayment for the loan of Hedy Lamarr earlier. MGM, in turn, bought the rights to James M.Cain's novel on the face value of getting John Garfield . The novel had lain on the shelf for over ten years because code restrictions almost forbade it ever being produced.
Julie played a roustabout who wanders into a truck stop and into the web of the owner's beautiful wife played so well by Lana Turner. The result was a plot pulsating with sex and murder, a black and white picture with a black and white theme contrasting Lana's all-white wardrobe (or all-black widow's "weeds") with Julie's dark hair with moods to match. The chemistry between the two stars was actually palpable and the critics believed it was the best performance either had ever given. But it was Garfield's picture all the way and again he should have gotten the golden idol and again he was denied.

Nobody Lives Forever 1946 Directed by Jean Negulesco Warner Bros. B/W

While most critics viewed this film as just another "gangster movie", I believe it could stand on its own on just the scenes between Julie, George Tobias and Walter Brennan. Julie is Nick Blake, a young small time hood who has done his his time in the Army, and now has come home wounded and looking forward to the "big time". Tobias is Al, a pal from the old days, waiting for him to get back in the game while Brennan is Pop, an old con man who just wants one more score. The trio is offered a "mark", a wealthy widow with about 2 million in her cache, by a mobster with no talent or money to do it alone. But Nick falls for the gal with some help from a beach and an old Spanish mission. Getting out of the deal proves to be harder than getting into it.

I like Garfield in this one. He shows brass, heart and loyalty. And I think the cast shines, too, with Geraldine Fitzgerald so believable as the widow Gladys, George Coulouris as slimy Doc and Faye Emerson as the faithless old girlfriend.

Humoresque 1946 Directed by Jean Negulesco Warner Bros. B/W

The set resembled old home week with Negulesco directing, Odets writing and Levant playing the old friend. The only things missing were Dane Clark and George Tobias!
Julie played Paul Boray, a violin prodigy from the slums and he performed as only he knew how. He even learned to play the violin and, although they dubbed in Isaac Stern's music, it was Garfield's hands playing the instrument. Joan Crawford got top billing as Helen Wright, the wealthy alcoholic patroness of the arts who sponsors Paul. It was a small role but a strong one and Crawford made the most of it. But, difficult as it must have been to keep out of Joan's long shadow, it was still a Garfield picture. Crawford later admitted she thought Julie was a brilliant actor.

Also in the cast: Ruth Nelson (a friend from Group Theatre days) who played Paul's mother; J. Carroll Naish, Tom D'Andrea, and Craig Stevens among talented others. The critics were enthusiastic. One review from Shirley O'Hara (The NewRepublic): "...John Garfield again manages the touching combination of toughness and sensitivity that makes him always interesting to me".

BTW..Late in 1946 after the birth of his daughter, Julie recorded an album for children called "Herman Ermine in Rabbit Town" where he narrated and played all the characters. However, he didn't sing so Nelson Eddy was safe!

Body and Soul 1947 Directed by Robert Rossen Enterprise/UA B/W

Here it was! The first independent film from Julie's own production company (with Bob Roberts). It was totally based on the life of Barney Ross, boxing champion and Marine hero. But, due to code restrictions, scenes showing Barney's battle with drug addiction could not be filmed. So the script was reworked showing the rest and changing the name to Charlie Davis. Julie played Charlie, the darkest character he had ever played up to date and he had to reach deep down in his gut to give that character life. In the story, the boxer lost his family and his girl in his drive for success. The movie also exposed the darker side of the fight game and its underworld connections. Julie was finally awarded a Best Actor Oscar nomination (he lost to Ronald Colman) and a Best Actor nomination by the New York Film Critics (he lost to William Powell). He deserved to win both.
Lili Palmer did an excellent job as Charlie's sweetheart but it was the superb performance of Canada Lee as Ben Chaplin that stood out from the rest. Lee would also find himself on the HUAC hit list and soon after, like Julie, his death at 44 was attributed to "natural causes"!

Gentleman's Agreement 1947 Directed by Elia Kazan 20th Century Fox B/W

Julie got third billing in this film about anti-Semitism. It was a small part but it was at the core of the story. Julie told everyone "It is not the lead but it is a character with guts...". The screenplay was written by Moss Hart based on a novel by Laura Z. Hobson and dealt with a writer, Phil Green (Gregory Peck) assigned to do an expose on anti-Semitism and who decides to do it as a Jew. Julie plays his old friend, Dave, who really is Jewish and who has lived with that prejudice his entire life.

Social statements were in Julie's blood and this one really hit home. "I'm doing it for Gadge (Kazan) because the picture says something I believe and it needs to be told". (Unfortunately,at a later date, Elia Kazan would turn on his old friends at a HUAC hearing).
Dorothy McGuire plays Anne, Phil's fiance who has to purge herself of subconscious bias and Celeste Holm is wonderful as the gal with all the right motives and yet never gets the guy. Anne Revere does another fantastic performance as Green's mother and Dean Stockwell aptly plays his son . The cast also had some other small acting gems: Jane Wyatt as Anne's sister; June Havoc as the secretary who hides her own Jewish roots; Albert Dekker as the publisher and Sam Jaffe as Professor Lieberman. A surprise was finding Gene Nelson in a cameo role.
The film won the Oscar as Best Picture, Best Director (Kazan)and Best Supporting Actress(both Holm and Revere were nominated but Holm won). Peck was nominated for Best Actor but lost to Ronald Colman (Julie was nominated the same year for "Body and Soul").

He Ran All The Way 1951 Directed by John Berry Enterprise/UA B/W

This would be Julie's last picture. It was also the swan song for his production company with Bob Roberts. The duo had to pay all the production costs for the film, and $50,000 for the screen rights. It was the story of a small time hood, Nick, who gets involved in a hold-up and killing , then further complicates his life with a kidnapping as he gets on a fast track to perdition. It was a part Julie could do with his eyes closed.

But the next problem to be faced ...where do you get a good cast and crew on a non-elastic budget? Julie decided on John Berry who had directed "Miss Susie Slagle's" and "Casbah". Unfortunately Berry had also directed a movie in the USSR and that put him on the hot seat with the HUAC. Both he and one of the film's writers were blacklisted and fled to Europe to work. Their names were erased from the ads.

Shelley Winters, an actress on her way up, agreed to do the role of the girl Nick kidnaps and Wallace Ford does a superb job, too, as the father in the hostage family. Selena Royle plays the mother and Bobby Hyatt as the little brother. Gladys George as Nick's blowsy mother and Norman Lloyd as his luckless pal rounded out the cast.

The film was shot on two coasts in 1950 and released in June, 1951. By that time Julie was already in big trouble.